Yajnopavita (Sacrificial Thread)

Yajnopavita or the sacrificial thread seems to be initially worn during the performance of the religious duties as the term itself indicates. In the early sculptures of this period, it is seen mostly worn by men belonging to the upper class, as represented in the sculptural art through the images of gods, demi-gods, celestials and brahmanas. They are also seen worn by sages, door-keepers and chauri bearers. Those portrayed as devotees, either standing or kneeling are also to be taken up as representing royal figures, as the kings like to project themselves as humble devotees of the Supreme Being. The common folk representing the hunting and pastoral class carved respectively in the panels of Govardhanadhari and Bhagiratha penance at Mamallapuram, as well as the figures indicative of the warrior class portrayed in the cave temple at Siyamangalam and Mahishasuramardini mandapa at Mamallapuram do not display a yajnopavita. This may hint at the fact that this previlege was continued to be denied to the lower strata of the society in this period also.

A diagonal band worn in the fashion of a yajnopavita can also be seen across the body of women, especially belonging to upper-class and their retinue from about 8^th century A.D. onwards. Earlier sculptures of women depicted in the various rock-cut mandapa and ratha type of temples, do not show any evidence of the tradition of women wearing a sacred thread. However, sculptural depictions of women executed from the reign of Narasimhavarman II Rajasimha and his successors, begin to show a yajnopavita. Thus, Parvati in the Somaskanda panel carved on the rear wall of the central shrine in the Mahishasuramardini-mandapa at Mamallapuram and sculptures of goddesses and female chauri-bearers in the structural temples at Mamallapuram and Kanchipuramvexhibits a diagonal band across the body identifiable with yajnopavita.

Yajnopavita in the sculptural art of this period are worn either in the upavita (flowing across the left shoulder) or nivita (flowing across the right shoulder) fashion. Regarding the raw material used for making a yajnopavita, it can be said that most of them are made of five different materials like: cloth, thread, beads or rudrakshamala, pearls and flowers. Three more mythical varieties made of serpents, skin of a deer and human-skulls can also be seen, worn especially by Siva and His ganas or dvarapalakas, Brahma and His dvarapalakas and Chamundi respectively. In some sculptures the brahmagranthi part of the yajnopvita is well defined and can be seen often adorned by an ornamental clasp. From about 8^th century A.D. a pair of thin strands can be seen flowing out from either side of the clasp. Of the two strands, one is seen going across the right side of the chest and the other descends down over the abdomen.

Of all the varieties the vastra-yajnopavita appears to be popular in this period, followed by sutra-yajnopavita. Accordingly, based on the material used the different types of yajnopavita can be described as following:

(i) Vastra-yajnopavita

The dvarapalaka flanking the facade of the Lakshitayatana cave temple at Mandagapattu offers the earliest example of a vastra-yajnopavita worn in two different styles in this period. Whereas the one standing at the eastern flank worn it in the upavita fashion, the other at the western end worn it in the nivita style. The vastra-yajnopavita worn by both the dvarapalakas are in the form of a strip of cloth or ribbon with a double bell-clasp adorning the brahmagrandhi part. A fine representation of this type of worn in nivita style can be seen on Gangadhara in the Lalitankura-pallavesvara-griham at Tiruchirappalli.

A similar type of yajnopavita having clear indications of a folded cloth is worn by the pair of dvarapalakas in the appearance of rishis, flanking the southern shrine in the Rudravalisvaram cave temple at Mamandur. It is noticed that many sculptures representing a sage and some of the devotee figures wear this type of yajnopavita, in which, the folds of the cloth can be seen clearly. They appear in the form of a simple uttariya worn in the fashion of a sacred thread. In fact some of them like the brahmachari (fig. 289) holding a pitcher on his shoulder in the Bhagiratha penance panel at Mamallapuram appears to be wearing an uttariya, folded length wise and worn around his chest in the upavita fashion. This style of wearing a sacred thread seems to have continued well into the late Pallava period, especially among the priestly or ascetic class as can be seen in several sculptural representations in the Kailasanatha and Vaikunthaperumal temples at Kanchipuram. For example in the latter mentioned temple, several bearded figures identified as Brahmanas are noticed wearing their sacred thread in this fashion. Similarly the devotees (fig. 78) kneeling on either side of Vakdevi and sage Bhrigu on the balustrade niche in the Sundaravaradaperumal temple at Uttiramerur are also seen with this type of vastra-yajnopavita.

In the Govardhanadhari panel at Mamallapuram both Balarama and Krishna wear this type of sacred thread. However, Krishna is seen wearing additionally another diagonal band, which is comparatively thinner. The double bell-clasp adorning the yajnopavita seems to be an optional one. Many sculptures in the Varaha-mandapa and Mahishasuramardini-mandapa at Mamallapuram are portrayed with a simple vastra-yajnopavita without the provision for a double bell-clasp.

It is interesting to note that the images of Durga enshrined in the devakostha on the northern wall of the ardhamandapa in the Airavatesvara, the Piravatanesvara and the Iravatanesvara temples and her images adorning the angalaya walls and the main shrine in the Kailasanatha temple at Kanchipuram wear a yajnopavita of this kind. Apart from the image of Durga, the image of Uma carved as part of the Somaskanda panel can also be seen sporting a yajnopavita.

Apart from the images of Parvati and Her various forms, other female figures like the chauri bearers and dvarapalikas (fig. 290) adorning the Kailasanatha and Matangesvara temples at Kanchipuram can also be seen fashioning a yajnopavita like band worn across the body.

In the sculptures datable from about 8^th century A. D. a pair of tassels can be seen hanging from the well ornamented double-bell clasp. These tassels are in the form of a string, with one passing over the right chest and the other descending over the abdomen. Such an embellishment can be found on many images adorning the walls and niches of the Kailasanatha temple at Kanchipuram. A fine example can be seen from an image of Vishnu at Satyamangalam (Villupuram district).^[1] (fig. 291)

(ii) Yajnopavita with series of circular clasps

This type can be regarded as a variant of the vastra-yajnopavita. In this, the strip of cloth is demarcated at intervals by series of circular bead like clasps. An earliest example of this type can be seen worn by an artisan in the panels (fig. 292) from the Thantonrisvara temple at Kanchipuram. Fine examples of this type can be seen worn by a dvarapalaka carved on the southern flank of the entrance into the shrine-cell in the Orukal-mandapam at Tirukkalukkunram and again by the ayudhapurusha Sudarsana (fig. 293) in the Anantasayi Vishnu panel of the Varaha-mandapa at Mamallapuram. Similar type with the intervening gap between the subsequent clasps reduced can be found worn by a Gana hovering over Brahmasasta (fig. 294) in the Trimurti cave temple at Mamallapuram. K. R. Srinivasan identifies the one worn by the Gana as rudraksha-yajnopavita^[2], as it gives the appearance of chain of beads.

(iii) Yajnopavita formed of beads or rudrakshamala

This type is different from the above mentioned one, as the individual beads or rudrakshas, which form the yajnopavita is clearly visible. Such a type can be seen especially worn by Siva and His attendants. A fine example of this type can be seen in the image of Kankala-murti, now preserved in the National Museum, at New Delhi^[3] (fig. 295).

(iv) Yajnopavita in the form of a twisted cord

This type can be regarded as another variant of the vastra-yajnopavita, in which, it resembles a twisted cord, instead of the ribbon like form. Such a type can be seen worn by two male figures depicted in the panels (fig. 296) from the Thantonrisvara temple at Kanchipuram.

(v) Sarpa-yajnopavita

A yajnopavita formed of coils of a serpent can be found worn especially by Siva and His attendants. A pair of dvarapalakas (fig. 297) flanking the central shrine in the Kal-mandapam at Kuranganilmuttam portrays a yajnopavita of this type. Similar type can be found worn by the dvarapalaka on the northern side of the shrine-cell in the Vasantesvaram cave temple at Vallam.

(vi) Sutra-yajnopavita

A fine and earliest representation of this type can be seen worn by a devotee kneeling to the left of Gangadhara (fig. 298) in the Lalitankura-pallavesvara-griham at Tiruchirappalli. He fashions a yajnopavita formed of four strands worn in upavita style. A sage portrayed behind Him also seems to wear a similar type. In the Anantasayi Vishnu panel of the Mahishasuramardini-mandapa at Mamallapuram, both the ayudhapurushas Nandaka and Panchajanya are seen with a sacred thread of this kind forming of three strands. Whereas, the yajnopavita worn by Nandaka was in nivita style with a fold near the shoulders, that of Panchajanya is in the upavita style with a double bell-clasp adorning the brahmagranthi part.

It is interesting to note that in the Somaskanda panel carved on the rear wall of the shrine in the same mandapa, along with Siva, Uma also wears a yajnopavita of this type. Whereas, the one worn by Siva is of three strands, Uma wears a sacred thread of two strands only. Based on the presence of yajnopavita on the image of Uma and other stylistic similarities, this panel was dated to about 8^th century A.D., when such a practise can be seen populary in the creations made under the patronage of Narasimhavarman II Rajasimha in the various structural temples like the Shore temple and the Olakkanesvara temple at Mamallapuram, Airavatesvara, Kailasanatha, Piravatanesvara, Iravatanesvara and Matangesvara temples at Kanchipuram. In all these temples most of the gods, male celestial figures, ganas and dvarapalakas can also be seen wearing a sutra-yajnopavita formed of three to four strands.

A yajnopavita formed of nine thin strands held by a double bell-clasp with a floral decor in its centre can be seen adorning an image of Vishnu, now preserved in the National Museum at New Delhi^[4] (fig. 299). From either side of the clasp a pair of thin strands can be seen adorning the chest.

The sutra-yajnopavita seems to be most popular among the upper-class, as can be noticed from several panels in the Vaikunthaperumal temple at Kanchipuram. In majority of cases, the kings are seen wearing a sacred thread formed of two or three strands, with a prominent floral clasp adorning it.

(vii) Kapala-yajnopavita

A yajnopavita formed of human skulls can be especially seen worn by goddess Chamundi (fig. 300). The earliest such depiction can be seen on an life-size image of Chamundi, datable to early-Pallava period at Mamallapuram. Another image of Chamundi seen at the same place, though of late-Pallava period can also be seen with a similar type worn across Her chest.

(viii) Ajina-yajnopavita

In this type, the yajnopavita seems to be made of the skin of a deer, which is considered sacred. This type can be identified by the portrayal of a deer head. Both Brahma (fig. 301) and a sage by His side in the Varaha panel of the cave temple at Mamallapuram are shown wearing a yajnopavita of this kind. In both the cases the head of the deer is clearly shown.

(ix) Mukta-yajnopavita

In this type, the yajnopavita is formed of strands of pearls and they are held together by means of a double bell-clasp. Yajnopavita of this kind can especially be seen in the sculptures from about 8^th century A.D. onwards. A fine example can be found worn by a male celestial figure (fig. 302) carved on the northern wall of the garbhagriha in the Muktesvara temple at Kanchipuram. Here He is shown wearing a yajnopavita formed of three strands of pearls clasped together by a double-bell ornament. Another best preserved example of this type can be seen across the body of Vishnu from Perangur (Villupuram district)^[5] (fig. 303). He is shown wearing a mukta-yajnopavita formed of five strands of pearls with an equally elegantly shaped double bell-clasp. From either side of the brahmagranthi part of the clasp, a pair of strands probably made of precious material like a gold or silver can be seen flowing over His chest and abdomen. Similar one can be seen on the image of Vishnu enshrined in a niche on the western wall of the Jalanadesvara temple at Thakkolam. An image of Vishnu^[6] and Surya^[7], now preserved in the Government Museum at Chennai also fashions a similar type, but correspondingly formed of three and four strands of pearls only. It is most likely, that those belonging to the rich-class used to wear such an expensive yajnopavita on special occasions. This view gains support from similar portrayal of a king (fig. 304) as wearing a mukta-yajnopavita formed of two strands of pearls in a panel (upper row) on the northern cloister wall of the Vaikunthaperumal temple at Kanchipuram.

(x) Pushpa-yajnopavita

A puspha-yajnopavita can be described as a simple floral garland worn in the fashion of a sacred thread or any other above mentioned types embellished with actual flowers or with similarly molded clasps. A simple example of this kind can be seen in an image identified as Padmanidhi from Kaverippakkam^[8]. Here he wears a normal vastra-yajnopavita with a series of floral clasps all along its length. Similarly, a mukta-yajnopavita with floral clasps at intervals can be seen worn by a dvarapalaka194 from the same place. However, owing to the damaged condition of the sculpture its scale of magnificence could not be known in its entirety. A yajnopavita (fig. 305) resembling an ornamental vine with full blown flower of eight petals can be seen on an image of Shanmukha from the same place^[9].

Footnotes and references:

[1]:

Now preserved in the Govt. Museum, Chennai, Acc. No. 2608.

[2]:

K. R. Srinivasan, Cave temples of the Pallavas, New Delhi, 1964, p. 159.

[3]:

Now kept in the National Museum, New Delhi, Acc. no. 59.153/158.

[4]:

Ibid.,Acc. no. 59.153/159.

[5]:

Ibid., Acc. no. 61.1157.

[6]:

Acc. no. 2607. Findspot: Unknown.

[7]:

Acc. no. 71-25/37. Findspot: Kaverippakkam.

[8]:

Now preserved in the Govt. Museum, Chennai. Acc. no. 71-7/37.

[9]:

Ibid., Acc. no. 71-5/37.